Title
Virgin and Child
Generic classification
SculptureObject
SculptureDate
ca. 1250-1300Century
Second half of the 13th c.Cultural context / style
GothicDimensions
33 1/4 x 13 x 11 1/8 inMaterial
WoodIconography / Theme
Virgen con el NiñoProvenance
Possible origin from Castile and Leon (Castilla y León, Possible origin from Castile and Leon, Spain)Current location
The Hispanic Society of America (New York, United States)Inventory Number in Current Collection
D35Object history
Although the provenance of the piece is unknown, its stylistic characteristics suggest that it was made in the Castilian environment. According to Valdés and del Álamo (2016) the short veil that extends on both sides of the Virgin's face and the treatment of the clothing refer to the sculptural groups of the cathedrals of Amiens and Reims dated around 1240. Some sculptors who had worked in these temples emigrated to other regions to continue their work. This is how they arrived at the cathedral of León around 1260-1265 and at the cathedral of Burgo de Osma (Soria) in 1270-1280 (Williamson, 1995). Thus, "stylistic point of view they reflect the influence of the jamb figures of the south doorway of the Amiens west front, possibly transmitted through the Amiens-inspired sculptures at Reims". This hypothesis is reinforced by observing the Virgin's features: sunken eyes, prominent cheekbones, thin lips, etc., which resemble the facial features of the Virgins of León and Burgo de Osma. Likewise, the curly hair of the Infant Jesus can be compared to the treatment of the heads present in the Sarmental doorway of the cathedral of Burgos. Similarly, we find similar carvings from the church of San Miguel in Támara de Campos (Palencia). Gilman (1932) saw parallels with sculptures from Navarre. However, the studies of Yarza (1992) and Fernández-Ladreda (2004) reinforce the hypothesis about the Burgos origin of the carving.
We cannot specify when the piece left its original location, however, in 1912 it was sold by the Schutz Galleries in Paris and in 1913 it became part of the collection of the Hispanic Society of America, where it is still preserved today.
Description
The carving has suffered damage with the passage of time, something that can be seen in the cracks that run through it. The back panel that supports the piece is partially broken, as are some of the Virgin's fingers. During the restoration of the sculpture, the fractured fingers and the original fruit were reattached. It was repainted in the 16th century.
Locations
Second half of the XIIIth c.
ca. 1912
dealer/antiquarian
Michelle Schutz, Paris (France) *
ca. 1913 - present
Bibliography
- FERNÁNDEZ-LADREDA, Clara (2004): "Algunas reflexiones entorno a las vírgenes del llamado tipo vasco-navarro-riojano", en Congreso Internacional "La Catedral de León en la Edad Media", Universidad de León, León, pp. 623-636.
- GILMAN, BEATRICE I. (1932): Catalogue of Sculpture (thirteenth to fifteenth centuries) in the Collection of The Hispanic Society of America, The Hispanic Society of America, New York, pp. 47-55.
- HOLLADAY, Joan y WARD, Susan (eds.) (2016): Gothic Sculpture in America: The Museums of New York and Pennsylvania, vol. III, International Center of Medieval Art, Nueva York, pp. 101-102.
- WILLIAMSON, Paul (1995): Gothic Sculpture 1140-1300, Yale University Press, New Haven, p. 231.
- YARZA LUACES, Joaquín (1992): Baja Edad Media: los siglos del gótico, vol. 4, en Introducción al arte español, Sílex, Madrid, pp. 148-149.
Record manager
Isabel Escalera FernándezCitation:
Isabel Escalera Fernández, "Virgin and Child" in Nostra et Mundi. Cultural Heritage from Castile and Leon around the world, Fundación Castilla y León, 2025. https://inventario.nostraetmundi.com/en/work/386
Virgin and Child
Holladay (2016): 101.
Holladay (2016): 101.
